|The title Con[text] itself is a play on words "con" meaning with in Spanish and "text" referring to any written language. Literal context is added to an image with the addition of words, numbers, letters. Shots of billboards, graffiti, headstones or even the illusion of a letter or word counts. The following examples have been shown at Darkroom Gallery in past exhibitions or provided by juror Tim Clark.
William Horton's The Perfect Perch is a perfect example of text naturally occurring and re-instating the origins of a subject. It adds a richness to the image and authenticates the windmill.
Barbara Dombach's The Sparrow is an example of two different kinds of text within the same image, handwriting is juxtaposed with the typeface of "June" in this dream-like image.
Sean Stewart's Comfortable Alley no34 is an example of an image with symbols that do not have legible words but the viewer knows they have meaning, obstruction of this meaning makes the photograph all the more mysterious. As this can also be true for text in a different language.
EJ Major, from the series Love is..... (published in issue 17 of 1000 Words Photography Magazine) is an example of collage. The artist took 2 found objects, in this case, mail and a iconic photograph and played them off one another along with a handwritten addition, it tells a unique story with all these multi layers at play.
Harold Ross's "Flying Fish" is an example of a hidden symbol within an image. Can you see the letter T in this photograph? Do you think this is a happy mistake or a consious choice of Ross?
Hugh Jones' Alice in Wonderland is an example of numbers or letters creating an overall texture or pattern, adding another layer of meaning to the image.
Fritzi Newton's If Doors Could Talk is an example of documentary photography that just so happens to have fragments of words in the found scene. When you are walking around with your camera you must capture some signage or logos in your shots, this is fair game for Con[text].
Roz Leibowitz's Annie Julia or Life After Death is a construction of a taken image along with the artist's written word. This is indicative of the dadaist movement, informing the viewer of a specific context to analyze the image.
Juror: Saul Robbins
|Photo © Saul Robbins|
"A good photograph is knowing where to stand." - Ansel Adams
That's a rather simple statement from a master photographer whose methodology and rigorous striving for perfection were anything but simple. Yes, knowing where to stand is important, but so is knowing what to shoot and when to shoot it. Our juror for this exhibition, Personal Perspective, is Saul Robbins, a well-known photographer, teacher, and critic. He states in his personal bio that (he is) "... interested in the ways people interact within their surroundings and the psychological dynamics..." of that interaction. We all have a unique way of looking at things, a singular vision that can be enhanced and polished by our observations of the world around us through our camera lens. Asked to photograph the same scene, several photographers may see roughly the same gestalt, but there's always the one, or the few, mavericks who find a way to pick out details or angles that others don't see or don't regard as important. For this exhibition, we're seeking the different point of view, the unexpected, the unique. Your submissions can be literal impressions of "real life" or they can be abstractions - the important part is to present an image that's made from your... personal perspective.
Juror: Saul Robbins is interested in the ways people interact within their surroundings and the psychological dynamics of intimacy. His photographs are motivated by observations of human behavior and personal experience, especially those related to loss, unity, failure, and the latent potential residing in traditional photographic materials and personal history. Robbins is best known for the series “Initial Intake”, which examines the empty chairs of Manhattan-based psychotherapy professionals from their clients’ perspective; referencing viewer’s perceptions, associations, and responses to this unique environment and the work that takes place there. He has also worked with abstract imagery ;"Chemical Peels,” is a series made with exposed and unexposed chromogenic paper processed in traditional color chemistry.
Robbins received his MFA from Hunter College of the City University of New York, where he studied with Roy DeCarava, and is Adjunct Professor of Photography at various universities in New York City, including International Center of Photography and NY Film Academy. He also consults privately and leads Master Workshops internationally about communication and professional development. His work has been exhibited and published internationally, and may be viewed at www.saulrobbins.com
Juror: Christy Karpinski
© Pere Ibañez
With the beginning of a new year and the resumption of new Calls for Entry it seemed appropriate to give our contributors a chance to choose their own best photos, regardless of subject or genre, to enter. Thus we named this exhibition OPEN - 2018, a chance for our contributors to choose their own photo genre. Entrants were encouraged to critique their own portfolio and enter those photos they felt were strongest, recognizing the technical factors that create the "appearance" of their photos - exposure, cropping, focus, depth of focus, etc. Composition is another big factor to be considered. Is the photo pleasing to the eye, does it follow the "rule of thirds", are there objects or lines in the photo that confuse the eye or lead it to the wrong place(s)? But at the same time we encouraged entrants not to be be overly concerned with the "rules". Thinking outside the box is often what makes for a striking photo image. Or, in the words of Pablo Picasso, "Learn the rules like a pro, so you can break them like an artist"
|Exhibit Calendar (Subject to Change)|
|Exhibit Opens:||15 February 18|
|Artists' Reception:||24 February 18 16:00|
|Exhibit Closes:||18 March 18|
How to make a Submission
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Juror's Statement:The process of jurying this exhibition was a total pleasure. It was great to see such varied subjects and styles brought together under the Open theme. For me, the strongest images tend to be ones that spark my imagination and curiosity through composition, technical skill and a point of view. I enjoy when an image creates a sense that I am being shown something more about a person or a place or being given insight that gets me thinking and wondering. I am also taken by strong composition where the subject may not be new to me and may be rather straight forward or even focused on pure visual pleasure, but the presentation and point of view keep me engaged with the image in a way that I want to go back to again and again. This is what was behind the images I chose for this exhibition, along with an effort to represent the diversity of work that I had this wonderful opportunity to spend time with.
|More On The Floor|
|From Train--Late Fall 1|
|Woman with Red Hair|
|Snakes & Ladders|
|The enchanted wood|
|Picnic with Persephone|
|Lost in My Head|
|From Somewhere to Nowhere|
|The Street Vendor|
|Lowell Mountain Wind Farm|
|St. Merrique's Eye|
|NV_Las Vegas_I-15@Spring Mountain Road|
|About A Boy 1|
|About A Boy 2|
|Vanishing Point #1|
|Behind And Beyond|
|Sunrise In The Lemaire|
|Bad Moon Rising|
|American Deer Chicago 2017|
|Desertscape no. 5|